Kaiju Eiga Secrets Revealed in New Q&A on Vantage Point Interviews!

Yoshio Suzuki in March 2024. Photo by Brett Homenick.

A new vintage account is now available on Vantage Point Interviews -- this time with Yoshio Suzuki, one of the five original suitmakers for the original Godzilla (1954). For the first time in English, Mr. Suzuki recounts his career at both Toho and Tsuburaya Productions, covering everything from the first two Godzilla movies to the enigmatic North Korean kaiju epic Pulgasari (1985).

It's all here in this brand-new Q&A from Vantage Point Interviews!

Sadao Iizuka, the Animator of Godzilla's Ray, Passes Away at 88

Sadao Iizuka in May 2019. Photo by Brett Homenick.

 

The Anime Tokusatsu Archive Centre (ATAC) has announced today that legendary tokusatsu animator Sadao Iizuka, who animated the beams of Godzilla, King Ghidorah, and Ultraman during the 1960s, passed away on March 24 at 9:10 a.m. due to aspiration pneumonia after being hospitalized in January. He was 88. The news was confirmed by Mr. Iizuka's friend and manager Tabata Kei.

Mr. Iizuka was born on December 26, 1934, and went on to join Toho as a part-time employee in 1954 and worked on Godzilla (1954) in the tokusatsu art department. He would also work on the productions of Godzilla Raids Again (1955), Half Human (1955), and Rodan (1956) in similar capacities until being recruited by Eiji Tsuburaya to work on optical effects for The Mysterians (1957).

Sadao Iizuka in February 2018. Photo by Brett Homenick.

Mr. Iizuka would work tirelessly throughout the 1960s on a variety of effects, including the stop-motion animation used in King Kong vs. Godzilla (1962) and the animation used to depict the fiery birth of King Ghidorah in Ghidrah the Three-Headed Monster (1964). 

Sadao Iizuka in December 2021. Photo by Brett Homenick.

Mr. Iizuka's beam effects for Godzilla, King Ghidorah, and Ultraman would help define Showa-era tokusatsu, but by the end of the '60s he would go leave Toho and eventually start his own company, Den Film Effect. (Mr. Iizuka's longtime nickname was Den-san.)

Sadao Iizuka with Toho SFX director Teruyoshi Nakano in March 2016. Photo by Brett Homenick.

I was privileged to interview Mr. Iizuka twice about his career in his home. It was only intended to be one session, but Mr. Iizuka had so much to say that we scheduled a second session for a couple of weeks later. Those interviews can be found here and here.

Sadao Iizuka draws Godzilla's beam in December 2021. Photo by Brett Homenick.

Mr. Iizuka was certainly outspoken about his true feelings and opinions, rarely holding back when you asked him what he thought about something. That quality made him one of the more endearing guests you would meet at such events.

Sadao Iizuka in between Tsuburaya Productions director Toshihiro Iijima (left) and kaiju suitmaker Keizo Murase in March 2016. Photo by Brett Homenick.

I first met him in August 2015, and he became one of my favorite folks to meet at events. Even then, he was one of the last remaining individuals who had worked on the original Godzilla and had many memories of working with Eiji Tsuburaya.

Sadao Iizuka poses with Toho SFX director Eiichi Asada in December 2022. Photo by Brett Homenick.

Pre-COVID, he always seemed in great health, especially for his age, and that seemed to be the case when I interviewed him in December 2020 and January 2021. However, when I met him again at an event on December 26, 2021, he seemed noticeably more frail. He seemed the same the last time I would ever see him, Christmas Day 2022. He was scheduled to attend another event in January, which was canceled due to his poor health. 

With Sadao Iizuka in December 2022.

Rest in peace, Iizuka-san.

UPDATE: I'd also like to mention that I was proud that this photo I took was used on Mr. Iizuka's official website for years.

It was truly an honor.

Nobuyuki Yasumaru, Legendary Godzilla Suitmaker, Passes Away at Age 87

Nobuyuki Yasumaru in December 2018. Photo by Brett Homenick.

Nobuyuki Yasumaru, the Toho suitmaker who created the Gorosaurus suit for King Kong Escapes (1967) and Godzilla for Godzilla 1985 (1984), passed away on March 1. He was 87.

Teruyoshi Nakano with Nobuyuki Yasumaru in December 2018. Photo by Brett Homenick.

Yasumaru-san was born on January 24, 1935, in Toyama Prefecture. He joined Toho in the early 1960s, working on the tokusatsu side of such productions as Mothra (1961), King Kong vs. Godzilla (1962), and The War of the Gargantuas (1966). Yasumaru-san became a suitmaker in 1967. You can read much more about Yasumaru-san's career in this 2018 interview.

Nobuyuki Yasumaru in November 2016. Photo by Brett Homenick.

I was fortunate to have met Yasumaru-san several times over the years. The first time was in November 2016 at a book launch party for Toho SFX crew member Takashi Naganuma. I actually had a previous engagement that day, but, as soon as I heard that Yasumaru-san would be attending, I cancelled those plans so that I could join the party.

In December 2018, I was lucky enough to interview Yasumaru-san at a cafe near his home in Sagamihara, Kanagawa Prefecture. He gave me a small-press book written about his life and career. After that, we exchanged New Year's cards, including this year.

I interviewed Yasumaru-san a second time last September, in which we revisited some topics (like Godzilla vs. Megalon) while covering new ground (The Last Days of Planet Earth). He had so much to say that I was even considering a third interview. Our last meeting in September was a lot of fun. He seemed as healthy as I'd ever seen him, and he was in great spirits. I'm very sorry to hear that he's passed. I will always cherish the memories I have.

RIP, Yasumaru-san.

Yasuyuki Inoue's 100th Anniversary at the Museum of Contemporary Art!

Poster art for the Yasuyuki Inoue gallery at the Museum of Contemporary Art, Tokyo. Photo by Brett Homenick.

On Saturday, March 26, I took in the Yasuyuki Inoue gallery at the Museum of Contemporary Art, Tokyo. Mr. Inoue was Toho's legendary tokusatsu production designer of the Showa era, and numerous blueprints, sketches, designs, scripts, and other items from his collection were on display. There was a lot of material -- almost too much to digest fully. It truly was amazing just how much of his work dating back to the 1950s and '60s survived. 

I picked up a few things at the gift shop at the end. All in all, it was a fun way to spend an afternoon. I just wish we were allowed to take more pictures of the exhibit itself. But here's what I was able to photograph. Enjoy!

Wishing a Toho SFX Legend a Happy Birthday!

Sadao Iizuka. Photo by Brett Homenick.

December 26 marked Sadao Iizuka's 87th birthday, so I was quite privileged to be invited to attend a small gathering of Iizuka-san's friends and fans on the day. 

Iizuka-san is an SFX animator who created the beams for Godzilla, King Ghidorah, and Ultraman in the 1960s. Follow the link to read the first of two lengthy interviews I conducted with him about his life and career. It will tell you a lot more about him than I could in this space!

Shigemitsu Taguchi. Photo by Brett Homenick.

Also on hand was Shigemitsu Taguchi. Taguchi-san is a television writer whose credits cover most of what made '70s TV as cool as it was. He wrote episodes of Return of Ultraman (1971-72), Mirrorman (1971-72), Ultraman Ace (1972-73), Jumborg Ace (1973), Ultraman Taro (1973-74), Ultraman Leo (1974-75), and many others. He attended because he wanted to meet Iizuka-san!

It was a great evening with two legends. It's just a shame that the temperature suddenly dropped that day! It sure made it hard on Iizuka-san, who took a couple of smoke breaks outside during the event.

Suffice it to say, Iizuka-san's 87th birthday party was a smashing success!

New Content on Vantage Point Interviews!

With Sadao Iizuka in December 2020.

The first of two interviews with legendary Toho optical effects wizard Sadao Iizuka has just been published on Vantage Point Interviews. Mr. Iizuka animated Godzilla's atomic ray and King Ghidorah's gravity beams in the 1960s, but he got his start in the tokusatsu art department with Godzilla (1954), which is where he would work through the production of Rodan (1956). This interview covers his early life and early years at Toho, prior to his career in optical effects. 

Check out the interview now on Vantage Point Interviews -- where content is king!

Attending a Screening of 'Princess Kaguya' (1935)!

Today, I visited a great exhibit called Eiji Tsuburaya: On the 120th Anniversary of His Birth, which runs until November 23 at the National Film Archive of Japan. The exhibit boasts a number of fascinating items, including Tsuburaya's shooting script for Godzilla vs. the Thing (1964), Takashi Shimura's photo album from Godzilla (1954), the machine used to create the Toho logo in the 1980s, as well as an assortment of posters and miscellaneous items owned by Tsuburaya.

After viewing the exhibit, I was able to catch an afternoon screening of Princess Kaguya (1935), a 33-minute digest version of the J. O. Studios film once thought to be lost, which contains English-language opening credits, as well as a crawl explaining the story. (The print was found in the UK a few years ago.) Despite that, there are no English subtitles.

Why was this movie being shown? Eiji Tsuburaya served as cinematographer of the movie. According to the materials provided by the National Film Archive of Japan, the original title was "The Marriage of Princess Kaguya," and it was promoted as a "cine operetta with Japanese music." That makes sense, as the movie essentially plays like a musical.

This version of the story is also less of a fantasy than other tellings (especially the 1987 Toho film Princess from the Moon) and is more comedic. The ending of the film in which the main characters get away from the bad guys right under their noses got a big laugh from the audience. Aside from the opening scenes in which the titular princess is found inside a shining bamboo, there is not much tokusatsu.

The materials also highlighted Tsuburaya's revolutionary use of a crane in his cinematography, and that was quite evident in the film. I'd say the movie's cinematography is quite innovative for 1935, though it wouldn't likely turn many heads today. 

All in all, the film was quite enjoyable, and it certainly seemed more ambitious than a lot of other films made at the time (and even years later) with static camera work. That being said, I'm not sure that folks should feel the need to book a plane ticket to fly halfway across the world to see it. For those primarily interested in tokusatsu, the highlights are easily available on the Internet.

They say that Eiji Tsuburaya is the Master of Tokusatsu, and this exhibit certainly highlights that fact. What an incredible way to celebrate his 120th anniversary!

Godzilla Speaks on Vantage Point Interviews!

With Haruo Nakajima in March 2015.

I'm very pleased to share that my 2008 interview with the original Godzilla suit actor, Haruo Nakajima, has been updated on Vantage Point Interviews with a new translation, which contains more details than the previous version. It also includes Mr. Nakajima's responses to audience questions, which was not included in the earlier version at all.

Content truly is king on Vantage Point Interviews!

Challenge from the Year 2020!

Bin Furuya. Photo by Brett Homenick.

"Challenge from the Year 2020" is the title of episode 19 of Ultra Q (1966), and it featured Bin Furuya in probably his most iconic suit-acting role (aside from the original Ultraman, of course). In this episode, Furuya-san played the alien creature Kemur, who is easily one of the most recognizable monsters from the entire series.

So it's quite apropos that as 2020 begins, there would be a special event with Furuya-san himself. The event was held in the evening of Sunday, January 12. Not only was Furuya-san on hand as a guest, but cinematographer Masao Nakabori joined the event, as well. Together, they mostly discussed the history of the original Ultraman (1966-67) TV series.

Masao Nakabori. Photo by Brett Homenick.

Nakabori-san even brought along a rare treasure -- the viewfinder of a movie camera from around the 1930s. Attendees got to hold and examine the viewfinder up close. It was a quite a treat to see firsthand how cinematographers of the 1930s shot movies!

The event was a lot of fun. Furuya-san thanked me for sending him a New Year's card and gave me his updated business card. Nakabori-san is always great to talk to, especially about the history of filmmaking in Japan. I hope to have a chance to see them both again very soon.

Celebrating the End of the Year!

Sadao Iizuka. Photo by Brett Homenick.

On Saturday night, December 22, I attended a special birthday celebration for former Toho optical effects master Sadao Iizuka.

Iizuka-san is a gentleman I've blogged about before, but his history with Toho makes him a true VIP in the world of tokusatsu.

Keiko Suzuki. Photo by Brett Homenick.

Also on hand was former Toho SFX script supervisor Keiko Suzuki (born Keiko Hisamatsu). Her career at Toho dates back to the late '50s (!), and it came to a close about 10 years later. It's always nice to see Suzuki-san at these events.

But wait ... I saw Iizuka-san again today for an end-of-the-year party! It's a rare treat to see such a legend in person on back-to-back days, but when you get an opportunity, take it!

See you all next year!

A Rare Look at King Kong vs. Godzilla!

Keiko Suzuki. Photo by Brett Homenick.

Today offered a unique look at the making of a Toho classic. Former Toho SFX scripter Keiko Suzuki (born Keiko Hisamatsu) gave a presentation about the making of King Kong vs. Godzilla (1962), featuring a rare look at the script and storyboard drawings. One thing that was interesting to see was that the English-language lines spoken by the Western actors in the submarine set were handwritten in the script in English, and they were essentially verbatim as they appear in the film. 

As handwritten in the script, the helicopter pilot's line, "Look there," was sans "Al." So was "Al" an ad lib? I guess we'll never know, but it wasn't in the script presented today. Moreover, I got to see the storyboards for the deleted scene in which Godzilla approaches the giant Byakue Dai-Kannon statue in Gunma Prefecture. There were two storyboard illustrations, and it didn't seem like much more to the scene than that.

Overall, it was a very fun afternoon, and it was quite amusing to see the various illustrations of Kong and Godzilla in storyboard form. If only there could be events like this for all Toho movies!

SIXTY YEARS OF VARAN! Celebrating Toho's Underappreciated Giant Monster!

Teruyoshi Nakano, Shigemitsu Taguchi, and Keiko Suzuki pose for pictures. Photo by Brett Homenick.

On Saturday, July 7, I was privileged to attend a rare screening of a 35mm print of Varan the Unbelievable (1958), which turns 60 this year. The print itself had obviously seen better days, as it was rather scratched up and jumpy. But given that I'd never seen a film print of the Japanese version before, it was nonetheless great to see.

Scripter Keiko Suzuki holds up her King Kong vs. Godzilla shooting script while Shigemitsu Taguchi looks on. Photo by Brett Homenick.

The event also celebrated SFX director Eiji Tsuburaya's birthday, so a few of his colleagues and contemporaries were on hand for the event. Keiko Suzuki was Toho's SFX scripter who worked alongside Eiji Tsuburaya for Toho's special effects spectaculars from the late 1950s through the end of the '60s. She brought her script for King Kong vs. Godzilla, which contained storyboard images used during the shooting. That certainly made the audience take notice!

Also in attendance was Tsuburaya Productions scriptwriter Shigemitsu Taguchi, who is best known for his work writing episodes of the '70s Ultra-shows. He has also just written a book about Eiji Tsuburaya.

SFX director Teruyoshi Nakano. Photo by Brett Homenick.

Making his triumphant return was none other than SFX director Teruyoshi Nakano, who hadn't attended such an event in a few months. The audience was quite pleased to see Nakano-san again, who hasn't seemed to have lost a step.

After the movie, it was dinnertime! The conversation with Nakano-san was quite enlightening, as it always is. As hard as it is to see, Nakano-san once again confirmed that "about 30" octopuses were used in King Kong vs Godzilla. He first mentioned this figure in my 2004 interview with him, and he said it again at an event in 2012. Given the possibility of translation errors, and since a much smaller number of octopuses has been reported elsewhere in English, I couldn't be quite sure. But he reiterated that number last night. And who would know better than Nakano-san himself?

Of his '70s films, he named Godzilla vs. Mechagodzilla (1974) as his favorite. Most Americans would probably name Terror of Mechagodzilla as their favorite.

Suffice it to say, it was another great event, and I couldn't think of a better way to celebrate the legacy of Eiji Tsuburaya. Can't wait to do it all over again!

An Ultra-Good Afternoon!

Kiyoshi Suzuki. Photo by Brett Homenick.

Today, I had a great afternoon with Kiyoshi Suzuki, who has seen and done just about everything there is to do behind the camera. Suzuki-san began working at Toho in the early 1960s as a part-time employee, working on the SFX shooting staff on such films as The Last War (1961). Suzuki-san joined Tsuburaya Productions from the very beginning. First, he worked as an assistant cameraman, but soon he worked his way up the ladder, ultimately becoming a movie producer in the 1990s. 

We had a wide-ranging chat that covered a number of topics. Suffice it to say, I learned a lot. Suzuki-san gave me a nice gift: a staff jacket from Superior 8 Ultraman Brothers (2008), which he produced. Many thanks, Suzuki-san!